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Pop - Verschenen op 20 november 2020 | Verve

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Pop - Verschenen op 20 november 2020 | Verve

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Vocale jazz - Verschenen op 13 november 2020 | Verve

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Pop - Verschenen op 28 oktober 2020 | Verve

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Pop - Verschenen op 7 oktober 2020 | Verve

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Vocale jazz - Verschenen op 2 oktober 2020 | Verve

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In 1962, Ella Fitzgerald was at the height of her powers, about midway through recording her now-iconic series of "songbook" albums and, two years earlier, having released a barnstormer of a live album, Ella in Berlin, that solidified her position as one of the most talented and popular musicians working in the jazz idiom. Her only competition at the time was, essentially, Frank Sinatra and herself. During the course of 1962, she would release three albums: two complementary collaborations with Nelson Riddle that further pushed her into crossover territory without tarnishing her credibility or minimizing her skills, and the oft-overlooked Rhythm is My Business, a hard-swinging set that comes off breezy and soulful, but is a remarkable document of the strength of Fitzgerald and her band during this era. And it's that strength that's captured on The Lost Berlin Tapes, recorded in concert at Berlin’s Sportpalast that year. Verve Records founder Norman Granz frequently recorded live sets of many of his acts (Fitzgerald especially), and that's what accounts for both the existence and the remarkable fidelity of these "lost" tapes. (Though they were never truly lost; Granz had just stashed them away). From a performance perspective, it's unbelievable that this concert recording sat unheard for more than a half-century. Brimming with energy and benefiting from the confidence that can only come from being at the top of one's game, Ella and her band careen through 17 songs with a full-throated fervor that's greeted with an equally enthusiastic response from the crowd. The set both swings incredibly hard and evinces a cool, sophisticated polish, a combination that, again, pretty much only she and Sinatra were delivering at this scale during the era. It's the sort of casual excellence that's made to look deceptively easy. (And yes, she aces the version of "Mack the Knife" here.) Releases like this—especially in the aftermath of the devastating Universal fire that destroyed so many iconic album masters and so much unreleased material—prove that, even when we think a barrel has been fully scraped or a vault fully excavated, there will always be warm, welcome surprises to be found in the archives of these legendary artists. © Jason Ferguson/Qobuz
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Vocale jazz - Verschenen op 25 september 2020 | Verve

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On the 13th of March 2017, Tommy LiPuma died at the age of 80. The Grammy-adorned producer had, one year prior, began work on a new album for his protege Diana Krall. The Canadian singer was therefore left to mix the record entirely alone... The calibre of musician on this record is impressive: guitarists Russell Malone and Anthony Wilson, bassists John Clayton and Christian McBride, drummer Karriem Riggins and Bob Dylan’s bassist, Tony Garnier, all come along to finish off the recording of This Dream of You. A great fan of Dylan, Krall used a song name from his 2009 album Together Through Life as the title of this 15th album released by Verve. Whether in duet, trio or quartet, Madame Costello plays and sings in diverse contexts but ultimately returns to her preferred repertoire: the Great American Songbook. The standards that have come to be expected a thousand times over are met as if by magic. Autumn in New York by Vernon Duke, How Deep is the Ocean by Irving Berlin and the unmistakeable Singing in the Rain by Gene Kelley as well as other classics from giants like Sinatra and Nat King Cole become her own. A whisper, a murmur, a refined arrangement, an instrumental treasure, Diana Krall prevails time after time. One could fault her for not daring to reimagine the songs more, but when the standard of these renditions is so high and of such depth, we can do nothing but yield and wonder. Also note that for the first time Diana Krall’s face doesn’t appear on the album cover! © Marc Zisman/Qobuz
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Vocale jazz - Verschenen op 25 september 2020 | Verve

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Originele soundtracks - Verschenen op 18 september 2020 | Verve

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Vocale jazz - Verschenen op 11 september 2020 | Verve

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Vocale jazz - Verschenen op 11 september 2020 | Verve

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Soul - Verschenen op 28 augustus 2020 | Verve

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Singer Bettye LaVette has made a career of overcoming adversity, bad timing and cruel music business vagaries. And so who better, at a time when America is reckoning with privilege and inequality, to bring fresh pathos and pique to the ever-powerful anti-lynching call, "Strange Fruit." On Blackbirds, she slowly climbs the mountain that is Billie Holiday's most famous number in a spare rendition—just piano chords, electric guitar notes and brushes on the snare—that allows her to linger on every word. The socially relevant timing of her latest collection is sustained by the title track, LaVette's very personalized interpretation of Paul McCartney's folk hymn to America's racial infamy that she first unveiled in 2010 at the Hollywood Bowl. Once advised that learning to sing standards would make her eternally employable—and unaware that her song selection on Blackbirds would meet the current moment with such force—LaVette, whose career was relaunched in the aughts with a series of albums on the Anti label, decided with this album to tackle tunes from the Great American Songbook most closely associated with great African-American female singers like Ruth Brown, Nancy Wilson and the aforementioned Billie Holiday. She wastes no time laying out her guiding principles in the opener, "I Hold No Grudge," a number first heard on Nina Simone's High Priestess of Soul album: "I hold no grudge/ Deep inside me there's no regrets/ But a gal who's been forgotten may forgive/ But never once forget." With a vocal instrument that's grown creakier but also wiser with age, LaVette adds layers of stylized reflection—as well as bursts of rascally spirit—to this cabaret-like set of mostly downbeat ballads. Produced by drummer Steve Jordan (who helmed her previous album Things Have Changed), and working with a quintet that features multi-talented guitarist Smokey Hormel (Beck, Johnny Cash, Tom Waits), Blackbirds was recorded at Brooklyn Recording by engineer Dave O'Donnell who unerringly captures the timbre and subtle inflections of LaVette's emphatic singing. The mood lightens for a moment in a keyboard-led version of Lil' Green's sexy "Romance in the Dark," before easing into the unavoidably heart-wrenching "Drinking Again," one of Dinah Washington's signature numbers where the sharp rasp of LaVette's voice accentuates the song's poignance. A shrewd stylist climbing inside songs to discover, decry and universalize. © Robert Baird/Qobuz
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Soul - Verschenen op 28 augustus 2020 | Verve

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Vocale jazz - Verschenen op 21 augustus 2020 | Verve

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Jazz - Verschenen op 17 juli 2020 | Verve

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Life is simple math – as the years go by, unfortunately, the legends from the golden age of jazz become rarer. That’s why it’s important to cherish the time we have left with them on earth and in recording studios; to hear their stories one last time, listen to them play and enjoy a legacy that will soon be just a memory cast in wax. Until his last breath on January 19, 2020, Jimmy Heath was among the last of these jazz giants to remain – although he stood at only five foot, two inches! Just one month after he passed away at the age of 93, the saxophonist from Philadelphia had enough time to write Love Letter, released by Verve Records. The worthy heir of Charlie Parker who was nicknamed ‘Little Bird’ had been a sideman on more than a hundred albums and has worked with the likes of Dizzy Gillespie, Miles Davis, Chet Baker, Clifford Brown, Kenny Dorham, Milt Jackson and a few dozen others; his career would trounce that of any jazz musician. Joining him for this final recording are pianist Kenny Barron, guitarist Russell Malone, vibraphonist Monte Croft, double bassist David Wong and drummer Lewis Nash, as well as Cécile McLorin Salvant, Gregory Porter and Wynton Marsalis, who feature as guests. Heath’s intimate playing is simply exquisite in the ballads, which are the main focus of Love Letter. His instrument, steeped in so much history from all his encounters, delivers a pure and captivating sound and becomes the voice of a narrative that hypnotizes the audience and captures their full attention from start to finish. The prime example of this is From Upper Neighbors Suite, the ballad which opens this endearing, moving and simply beautiful album. © Marc Zisman/Qobuz
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Jazz - Verschenen op 26 juni 2020 | Verve

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R&B - Verschenen op 26 juni 2020 | Verve

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Pop - Verschenen op 21 juni 2020 | Verve

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R&B - Verschenen op 12 juni 2020 | Verve

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Jazz - Verschenen op 12 juni 2020 | Verve

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